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Crazy House

  by James Patterson


(about 267 pages)
66,643
total words
of all the books in our library
48.79%
vividness
of all the books in our library
8.20%
passive voice
of all the books in our library
3.42%
all adverbs
of all the books in our library
1.25%
ly-adverbs
of all the books in our library
2.17%
non-ly-adverbs
of all the books in our library

clippings from this book

We’ve analyzed hundreds of millions of words, from thousands of different authors, training our linguistic models to recognize the most vivid words in the English language… the words that create the most intense sensory experiences: colors, textures, sounds, flavors, and aromas.

Based on our analysis, we’ve scanned through the pages of this book to find the two pages at the extremes, both the most-passive and the most-vivid pages, so that you can compare them side-by-side and see the difference:

MOST PASSIVE PAGE
MOST VIVID PAGE
No. That couldn’t be right. And then I was out. CASSIE I’D HAD THE REST OF the day to absorb the fact that my sister had been an Outsider and I hadn’t known about it. All the times I’d thought she was out somewhere, hanging out with bad citizen friends, she’d actually been with Nathaniel and the others, coming up with plans to turn the cell upside down. Why hadn’t she told me? I pressed my lips together and unpacked my ma’s field glasses from my shoulder bag. She hadn’t told me because I would have been horrified, I admitted to myself. I would have fussed at her, warned her, been scared for her—for us. I would have thought she was making bad, stupid decisions. My chest hurt, thinking about all this. I’d been a bad sister. I hadn’t meant to be. But I’d been so caught up with being good for the cell that I hadn’t even noticed I’d let Becca down. Now it was almost dark, and I was out by the boundary gate. “You shouldn’t be here.” Nathaniel Allen crossed his arms over his chest, long legs supporting the moped he sat on. “Look who’s talking,” I retorted, and raised my ma’s field glasses to peer into the distance. “You’re too close to the Boundary,” he pointed out unnecessarily. “Oh, really? Is that what all the barbed wire is about?” I scanned the horizon, peering as far down the boundary road as I could. I’d been balconies and beautiful gardens filled with flowers and trees and bushes. “What is that place?” Cassie asked. “It’s called Virginia. Another of the Forbidden Zones. Keep watching.” Now the images on the screen switched back and forth: a close-up of one of those gorgeous houses, its walls made of pale-red bricks. The next shot was of a big pit of red clay, then a cell factory where the clay was being made into bricks. Filthy, sweating men and women shoveled the clay into huge molds that got pressed by a machine. The image changed again and we peered through an open window at a table. It had a lace tablecloth and beautiful plates and glasses. On the table was a loaf of bread. Abruptly, the next image was another cell factory. Huge machines were churning wet dough. Women wearing white coats and caps hauled the machines to and fro, dumping the dough onto conveyer belts. “I don’t understand what any of this is,” I said. They looked real. But none of it made sense. Ms. Strepp didn’t reply, but clicked her remote again. Now the images flew by on the screen: a close-up of a rosebush, then a shot of gardeners toiling in the sun, growing rosebushes by the thousands. A view of a beautiful wooden desk, a shiny wooden floor, a stack of wood by an amazing marble fireplace—followed by a timber cell, where men using enormous saws were felling trees, and cranes loaded the trees onto long

emotional story arc

Click anywhere on the chart to see the most significant emotional words — both positive & negative — from the corresponding section of the text…
This chart visualizes the the shifting emotional balance for the arc of this story, based on the emotional strength of the words in the prose, using techniques pioneered by the UVM Computational Story Lab. To create this story arc, we divided the complete manuscript text into 50 equal-sized chunks, each with 1332.86 words, and then we scored each section by counting the number of strongly-emotional words, both positive and negative. The bars in the chart move downward whenever there’s conflict and sadness, and they move upward when conflicts are resolved, or when the characters are happy and content. The size of each bar represents the positive or negative word-count of that section.

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